Narrativ und Metamorphose

For the expansion of the view by dimensions of consciousness, Maya Deren has focused on the creative manipulation of time and space by means of camera work and montage. She has described filmmaking as the "creative use of reality." Her filmAt Land(1944), through the act of encoding and decoding contexts of meaning, releases people trapped in worldviews again and again. InDe Vita Händerna(1950), the Swedish experimental filmmaker Rut Hilarp's interpretation of the legend of Tristan and Isolde, she seeks to grasp the dramatic material through sensual processes that run counter to the narrative norm based on causallogical connections. InRitual in Transfigured Time(1956) Maya Deren conceives of ritual as an "exercise in form" and establishes art as a force derived from and metamorphic to ritual. Running counter to gravity and architectural functionality are the filmed bridges inBridges Go Round(1958) by New York filmmaker Shirley Clark. Her filmA Scary Time(1960), originally commissioned by the children's charity UNICEF, shares Fahlström's polemic and radical critique of the global economic power relations.Monangambeeelated to an exclamation used by activists: inside the anti-colonial liberation struggle in Angola to call village meetings, and a short film about humiliation, solidarity and resistance by Sarah Maldoror, shot in 1969 from a Global South perspective.

At Land

USA 1944, 14 min. bw. 16 mm. Without dialogue

Director: Maya Deren

De Vita Händerna

Sweden 1950, 13 min. bw. DCP. Without dialogue

Director: Rut Hillarp

Ritual in Transfigured Time

USA 1946, 14 min. bw. 16 mm. Without dialogue

Director: Maya Deren

Bridges-Go-Round

USA 1958, 8 min. color. 16 mm. Without dialogue

Directed by Shirley Clarke

A Scary Time

USA 1960, 15 min. bw. Digital HD. E

Directed by Shirley Clarke, Robert Hughes

Monangambeee

Algeria 1969, 15 min. bw. Digital HD. OV/d

Director: Sarah Maldoror

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